On a first reading, Beveridge's poetry seems to be alive with an extraordinary sensitivity to smells and sounds as well as sights — all of which lead to a precise and intense response to the world that often emerges as rhapsodic. At a higher level it is obsessed by patterning and the search for patterns, tapestries, figures in the carpet as well as chaotic contingency and its transcendent 'monarch note'. It also explores the significance of the continuous crossing of boundaries between orders of creation. Her poetry is remarkable in that all of these features seem present (or at least hovering kite- or butterfly- or heron-like in the background) in almost all of the poems and there can be few poets for whom the adage that the best guide to interpreting a single poem is the rest of the same author's poems is so true. Whether this dense and challenging style continues is still to be seen. And it is also still to be seen whether the epistemological and aesthetic implications of the Buddhism which the most recent poems deal with affect the nature of Beveridge's future poetry.